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Back to Class: The Perversity of Petit Allegro

I took class on Monday and found that, although my feet and Achilles’ tendons were still a little tight, I was mostly functional. I even got some nice turns in.

As such, I hit the studio again tonight (didn’t make morning class because D’s truck overheated, so he needed my car, and I was too late to catch the bus) feeling fairly confident about things.

My confidence was, in fact, well-placed. Class was good, all things considered—I’m still a tad wheezy, but with adequate oceans of medication that stayed under control.

Anyway, tonight’s class was essentially built around petit allegro—not that we didn’t do anything else, because we absolutely did, but the ultimate goal was to improve our petit allegro by improving our use of pliés.

When we finally did get around to petit allegro, BG gave us a very, very helpful note: if the music is fast, focus on getting down into the floor with the pliés.

It’s counter-intuitive as all heck, but it works a treat. I am one of those people who can milk a fair bit of elevation out of a jump by brushing hard and really springing through the feet, so I don’t always use my deepest demi-plié in preparation.

This is not at all helpful in fast petit allegro combinations—it just takes too freaking long, especially when you factor in hyperextended knees and really flexible feet.

Turns out that if I get deep into my demi-plié, I can actually get there faster. I suppose it comes down to employing the entire bottom of the foot—I suspect that when I’m struggling with petit allegro, my heels are probably just skimming the ground when they should be doing some actual work.

Anyway, this feels revelatory, as things do of late. I’m going to have to practice the hell out of it in order to overcome a lifetime of attempting to do petit allegro the way I do grand battement.

Anyway, that’s it for now. In short: never be afraid to get down when it’s time to boogie.

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